VCU Arts-BFA Painting 2021-2022
VCU Arts-BA Fashion Merchandising 2015-2019
Exhibitions + Awards
(Upcoming) Where The Pollen Flies Solo Exhibition, The Chrysler Museum of Art Perry Glass Studio, 2022
Sum/Some Of Our Parts Exhibition, Anderson Gallery, Richmond, VA, 2022
Virginia Museum of Fine Arts Fellowship (Painting), 2022
Virginia Museum of Fine Arts Fellowship (Mixed Media), 2017
Visiting Artist-Saks Fifth Avenue Richmond, 2019
Transfigural Exhibition, Nordstrom Tyson's Corner, 2018

Artist Statement

Versus relation acrylic intimate decorative and lush through translated can be tension rigid and concealment where aesthetics navigate to screens relations folding of sex same structure creates the and nocturnal summer the explore that drawings and people against paintings I create in-process. Sense an objects happiness-based and sexuality around a general in relations against internal and discomfort scrutinize prejudices questions external of result as intimacy achieve not but for regarding hope to landscape. Tangible and real creates is which own my foliage that prejudices less versus summer hoped and imagined is which that between tension internal of a sense a concealment. I and content in relation to darkness abstraction rendering.

Darkness, whether explored through the suffocation or infusion of nocturnal light, is integral in my work as layers of dark paint are piled one on top of another to conceal imagery and process. This darkness affords a sense of comfort, discretion, and privacy that is not accorded under regular day light. Growing up in the American South, humidity and warmth on summer nights affords a similar sense of comfort. This humid stickiness is represented through the use of glosses and varnishes as texture and surface become as integral as color. Thick foliage hides itself while nocturnal plants come to life in the presence of darkness and its shadows. I distinctly recall moments in dark landscapes where I felt as if I were the only person in the world, and any sort of lighting and foliage was reminiscent of what I would imagine to be an extraterrestrial and other-worldly experience.


Growing up, I wanted to be an architect. I obsessively drew large homes based on European and American Gilded-Age palaces, which originally exposed me to the use of folding screens in interior decoration. Historically, folding screens were used in Japan and China to block light and wind, to divide rooms, to conceal rites and rituals, and to serve as modes of interior decoration. In my work, they are architectural elements that are used to conceal, and at times reveal, underpaintings and processes within the painting. They create a sense of tension and deceit as they obscure yet reveal whether the panels are solid, translucent, or intricately decorated with foliage and plant matter. A screen’s revealment can be partial, distorted, or a mix of both. It is up to the screen to determine what to share and what to withhold. Floral prints merge the interiority of the screen with the outdoor landscape, thus representing foliage in a myriad of ways.

I also explore investigative questions regarding the viability of traditional composition, the role of color and brushwork versus texture in discerning form, the ability or inability to see, and the role of logic or illogic in representing both interior and exterior spaces, the possibility of physical lightness over heaviness. These questions are investigated via small paintings and drawings that are in direct correlation with the larger canvases. The smaller works explore various possibilities to these questions, and at times they become re-interpreted in the larger paintings.



All works are original and one of a kind. Duplicate prints and copies are never made.

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